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Demnach stehen folgende Programmpunkte vorerst auf meiner persönlichen Liste:

Freitag

• 18:30 Uhr: Gui Boratto - Big Wheel Stage
• 22:00 Uhr: Klee - Gemini Stage
• 22:30 Uhr: schnell rüber zu Kate Nash - Main Stage *musthave*
• 23:30 Uhr: Supermayer - Big Wheel Stage
• 01:00 Uhr: Editors - Main Stage :) *unbedingt*!
• 02:30 Uhr: Ellen Alien - Big Wheel Stage *freu*!!!
• 05:00 Uhr: M.A.N.D.Y. - Gemini Stage *hoffentlich noch fit...*

Samstag

• 17:30 Uhr: Peter Licht - Main Stage (wenn ich mich da schon aufraffen kann...)
• 21:00 Uhr: Notwist - Main Stage
• 22:00 Uhr: Mathias Kaden - Big Wheel Stage
• 23:30 Uhr: The Whitest Boy Alive - Melt Klub
• 02:00 Uhr: Roisin Murphy - Main Stage

Der Feitag verspricht auf den ersten Blick auf jeden Fall mehr als der Samstag...Aber oftmals rocken gerade die Leute, die man vorher gar nicht kennt...es heißt also: abwarten, gespannt sein und überraschen lassen! :)

Ich ärgere mich auf jeden Fall gerade, dass mein breits vorhandenes (und geschenktes) Ticket OHNE den Sonntag ist....das heißt nämlich: Kein Hot Chip für mich dieses Jahr :( ....sehr blöd, vor allem, da die Jungs letztes Jahr extrem die Menge gerockt haben...

Kann es trotzdem kaum erwarten, bis es wieder los geht...Das Festivalfieber ist wieder ausgebrochen.... ;)

 15. Lil' Wayne :: Tha Carter III

Meteen ook de Guilty Pleasure, het verkoopsucces en artwork van het jaar. Zelfs in het lijstje van albums die er net buitenvielen staan veel sterkere platen dan deze Carter III, die zelfs nog niet eens het beloofde chef d'oeuvre van de kleine man geworden is. Maar, verdorie, wat heb ik al plezier beleefd aan dit plaatje: platte mainstream hip-hop hand in hand met bizarre genre-experimenten, platvloers geneuzel en poltiek geëngageerde raps in één nummer, briljante nummers naast hopeloze bucht. En je zal het allemaal ondergaan met de glimlach.

 14. Hot Chip :: Made In The Dark

Vond ik de hype rond het vorige album nogal overroepen, dan ben ik nu wel weer mee. Nochtans vond de verzamelde pers aan dit plaatje dan weer niks, terwijl ik er een uitstekende mix van funky dansvloerfodder, mooie soulballads en stompende techno in hoorde. Maar ja, misschien staat mijn bullshitdetector niet meer op, of zijn mijn oren ondertussen te hard achteruitgegaan om goed van slecht te onderscheiden, zal u nu denken. “Fuck off”, is de repliek, “my hips don't lie”. Shakira 1, de wereld en zijn filosofen 0.

 13. Fuck Buttons :: Street Horrrsing

Prachtige, melodieuze noise uit de stal van All Tomorrow's Parties, die nu ook een label hebben. Lawijt dat leeft, ademt, dat een ziel heeft en de luisteraar optilt naar andere plaatsen, wat heeft een mens meer nodig?

 12. Drive-By Truckers :: Brighter Than Creation's Dark

In het begin van het jaar compleet weg van, en erna een beetje uit het oog verloren. In de voorlopige versie van dit lijstje stonden ze er zelfs niet in! Gelukkig passeerde net op dat moment "That Man I Shot" op mijn media player, waardoor de vlam weer opflakkerde. 75 minuten over 19 nummers blijft misschien wat veel, en er zitten een paar mindere nummers tussen, maar het weegt allemaal niet op tegen de ongelofelijk sterke brokken southern rock en country ballads die dit album sieren, "Daddy Needs A Drink" voorop. Afspraak in Kiewit!

11. Xiu Xiu :: Women As Lovers

 "Gestoorde dramatische nicht", dacht ik toen ik Jamie Stewart voor het eerst hoorde kwelen als een klein varkentje over leuke dingen als incest, moord en oorlog. Maar kijk, dan hoor je "Bishop, CA" van op The Air Force, en voor je het weet, ben je verknocht aan Xiu Xiu. Dat was ook niet anders met deze nieuwe plaat, Women As Lovers, die een stuk "poppier" genoemd mag worden; het is ook de eerste plaat van Stewart die ik in één stuk kan uitluisteren. De muziek doet nu weer denken aan Low (de plaat), gruizelige post-punk à la Curtis en gamelan, en dan weer aan overstuurse Art Rock met keyboards, en dan ergens in het midden "Black Keyboard", een emotioneel akoestisch nummer als rustpunt:

Be free.
Laugh at your son.
A child is nothing without hate.
Be certain he feels
his love is trash.

Heeft Jamie Stewart therapie nodig? Waarschijnlijk. Maar laat hem nu nog maar even muziek maken.

10. Jamie Lidell :: Jim

Oftewel: Lidell doet een Stevie Wonderke. Een extreem leuke en genietbare plaat is Jim geworden, ondanks enkele mindere nummers. Tuurlijk, het kan overkomen als een pure stijloefening: “Another Day” is Motown-materiaal, “Out Of My System” is The Family Stone met Lidell als vervangend ceremonieleider voor Sly die zijn neus even gaat poederen, en “Figured Me Out” is een B-kantje van Songs In The Key Of Life, daar kan geen twijfel over bestaan. Maar laat dit nu net het soort soulrevival zijn dat mij wel kan boeien, in tegenstelling tot alle Duffy’s en Adeles van deze wereld. 

9. Man Man :: Rabbit Habits

BOEM 

                    Paukeslag

  daar ligt alles                               PLAT

  0--------------------O

 weer razen violen celli bassen koperen triangel

 trommels   PAUKEN

Paul van Ostaijen blijft verrassend actueel, bedacht ik toen Rabbit Habits hier door de residentie vlamde. Georganiseerde chaos met blazers, pianos, alle soorten percussiegerammel, surfgitaartjes en nog meer van dat moois, zoals opperbrombeer "Tommeke Tommeke, wat doede nu?" Waits dat al heel goed kon. Met deze plaat klinkt Man Man dan wel iets gepolijster en directer dan vroeger, maar hun sprong in de pop blijkt wel hun beste plaat te zijn geworden.

8. Ellen Allien :: Sool

Minimal met een hart, dat presenteert Ellen Allien op Sool; een hermetische wereld waar je maar moeilijk in geraakt, net als het Berlijn van deze electronische grootstadprinses. "U-Bahn Hof Alexanderplatz, bitte einsteigen", hoort men in het begin, waarna de reis begint via allerhande kille bleeps en bips, maar onder de kilte zit wel degelijk een prachtige omgeving, die zichzelf slechts een paar keer in al zijn breekbaarheid onthult aan de luisteraar, zoals in het Autobahn-gerelateerde "Zauber" en de kiekenvelpop van "Frieda". Aanrader voor mensen die hun electro graag sferisch hebben.

7. The Roots :: Rising Down

Hoe blijven The Roots zo consistent? Hoe? Hun achtste of negende plaat al, en nooit is deze groep minder dan “goed”. Ook Rising Down is weer klasse (al kun je het moeilijk een meesterwerk als Things Fall Apart noemen), een prestatie in het hip-hopgenre waar veel artiesten al na één of twee platen uitgepraat lijken. Het iets meer electrische geluid zit weer perfect, temeer omdat het meeste instrumentarium live wordt opgenomen, de sfeer is rauw en donker, de rhymes zijn strak en de flow stroomt harder dan de Niagarawatervallen. Het is nog af te wachten of Rising Down op nummer 7 blijft staan, maar ik ben er gerust in dat hij op het einde van het jaar nog wel ergens in het lijstje opgenoemd wordt.

6. Al Green :: Lay It Down

Jamie Lidell waagde zich dit jaar dan wel aan zalig gecopycat, de echte meesters van de soul blijven toch te verkiezen boven het naarstig gekopieer van blanke jongetjes en meisjes uit de suburbs. Al Green, de gladjanus der gladjanussen, is namenlijk terug met nieuw werk, en mijn God, wat een plaat! Meesterlijk zeemzoete soul van de maestro zelve, die Milesbehind prompt de lichten deed dimmen om in zijn kamerjas bij de open haard (centrale verwarming, maar kom, fantasie…) en een goed glas limoncello zich te verheugen op menige jonge deernes die de kamer zouden instormen om op de tonen van “Lay It Down” en “Take Your Time” eens goed van bil te gaan. Vooralsnog niet echt voorgekomen, maar het zal er met de hulp van Reverend Green toch wel ooit van komen zeker? Kortom, een uitstekende plaat.

5. Earth :: The Bees Made Honey In The Lion's Skull

Dylan Carlson verraste mij in februari met een ijzersterke plaat, een hevige koorstdroom die je naar mooiere oorden neemt, al dan niet in combinatie met enkele niet nader genoemde chemicaliën. De drones, van de hand van de grootmeester van het genre, op The Bees roepen dan ook ergens de sfeer van het San Francisco van begin jaren zeventig op. Earth is de Grateful Dead van dronemetal geworden, lijkt wel, en dat is niets om triestig over te zijn, zeker als er zo een sterke plaat van komt.

Lees de recensie HIER.

4. Atlas Sound :: Let The Blind Lead Those Who Can See But Cannot Feel

Nog zo'n heerlijk klankenpanorama kwam uit de handen van Bradford Cox, iele frontman van het nogal geweldige Deerhunter. Meer liedjesgebonden, en ook iets minder robuust dan de drones van de heer Carlson, en daarom misschien nog iets beter. De liedjes zijn zoals de beste van My Bloody Valentine: heerlijke popnummertjes, gedrenkt in wassende feedbackgolven, gekraak en slepende akkoorden. Zalig om bij weg te dromen.

Lees de recensie HIER.

 3. The Fall :: Imperial Wax Solvent

“I'm a fifty year old man/ and I like it-uh!/ I'm a fifty year old man/ what are you gonna do about it?”, vertrouwt MES de luisteraar toe in “50 Year Old Man”. Mijn favoriete groep, The Fall, blijft dus nog steeds zijn koppige, geweldige en bijwijlen irritante zelf. Maar was ik vorig jaar nog danig teleurgesteld in het luie, lakse en ongeïnspireerde Reformation Post TLC, dan is Imperial Wax Solvent weer een triomf van jewelste voor The Fall Gruppe. Dementerende spookhuisjazz (“Alton Towers”), pisnijdige rock (“Wolf Kidult Man”, “Exploding Chimney”, “Tommy Shooter”), veel Nuggets en een streepje post-punk, vooral in het gierende epos “50 Year Old Man”, het langste en meest veelzijdige Fallnummer aller tijden. Ik heb het allemaal al eens eerder verteld (lees de recensie HIER), dus valt er maar één ding te zeggen: “Bij leven en welzijn, tot over 8 dagen op de Dourweide”.

 2. Portishead :: Third

Ik had dit muziekjaar al bijna als compleet hopeloos opgegeven, tot er plots na een dik decennium een nieuwe Portisheadplaat op de winkelrekken gesmeten werd. En na ettelijke luisterbeurten ben ik tot een conclusie gekomen: dit album is beter dan Dummy. Een statement waar ik zeker op aangesproken zal worden (als iemand deze blog nog leest, tenminste! -- Subtiel, hé?), maar de genres waar Portishead op Third mee speelt, vind ik vele malen interessanter dan de loungy film noir-soundtracks op hun bejubelde meesterwerk uit '94. Beth Gibbons klinkt nog altijd als een tedere engel en het filmische is er nog altijd, maar dat wordt nu geprojecteerd op folk, krautrock en Silver Apples, electronische machinegeweersalvo's en andere beats, en spanningopwekkende strijkerarrangementen. Ach ja, misschien schat ik de plaat wel te hoog in, maar het essentiële blijft dat ik bij elke luisterbeurt er ten volle van genoten heb, de dreiging ondergaan heb, en de heerlijke trip erna nog eens overdeed. Samen met Sool ook dé examenplaat van het jaar.

1. No Age :: Nouns

Het was te verwachten. Zelfs voor ik de plaat nog maar hoorde, lagen de verwachtingen al zo hoog dat er haast niets aan deze plaat zou kunnen tippen, al kwam Portishead heel dicht in de buurt. Ik kan niet uitleggen waarom ik hem zo geweldig vind, al heb ik het honderden keren geprobeerd aan al mijn vrienden, familie en kennissen. Eén ding kan ik wel meedelen: een hardere stamp in mijn edele delen heb ik dit jaar zelden gekregen. Energieke lo-fi punk, gedrenkt in oorverdovend lawaai, half vals gezongen, extreem snel en rommelig. Twaalf nummers in een half uur. Wat valt er nog meer te zeggen? Dat u het zelf zou moeten horen? Proberen kan geen kwaad, denk ik.

Lees, voor de tigste keer, de recensie HIER. Klik, klik, klik, verdomme!!!

Sterk, maar niet goed genoeg: Fleet Foxes :: Sun Giant EP, M83 :: Saturdays = Youth, Elvis Costello :: Momofuku, Foals :: Antidotes, Vampire Weekend :: S/T, Times New Viking :: Rip It Off, Spiritualized :: Songs In A&E, The Melvins :: Nude With Boots, Nick Cave And The Bad Seeds :: Dig, Lazarus, Dig!!! en Johnny Dowd :: A Drunkard's Masterpiece.

Verder nog fijn gezelschap van: dEUS :: Vantage Point, Boris :: Smile [Japan], Black Mountain :: In The Future, The Breeders :: Mountain Battles, Gregor Samsa :: Rest, Los Campesinos! :: Hold On Now, Youngster..., Retribution Gospel Choir :: S/T, The Ruby Suns :: Sea Lion, Stephen Malkmus :: Real Emotional Trash, Silver Mt. Zion :: 13 Blues For Thirteen Moons, These New Puritans :: Beat Pyramid, Why? :: Alocepia, White Circle Crime Club :: Pictures Of Stares, Nebrovski :: Nebrovski EP.

 Nominaties in de categorie “muzikale stront”: Crystal Castles :: S/T, El Guincho :: Alegranza (waarom wil iedereen toch perse grossieren in dat Panda Bear-gefröbel? Bovendien een grondige hekel aan Spanjaarden) en The Mars Volta :: The Bedlam In Goliath.

 (Her)ontdekking van het jaar: Hip-Hop, en dan de Wu-Tang Clan in het bijzonder. Het aantal toeren dat Liquid Swords, Only Built 4 Cuban Linx en Enter The Wu-Tang (36 Chambers) hier al gedraaid hebben, is niet meer bij te houden. Maar ook John Cale, Peter Gabriel, en nog een hoop Art Rock.

 In blijde verwachting van/nog niet gehoord: Bon Iver :: For Emma, Forever Go; Deerhunter :: Microcastle (hij is gelekt, beluisterd, en zeer goed bevonden, maar nog niet opgenomen in de lijst omdat ik wacht op de officiële release), GZA :: D.A.R.T.S., Fleet Foxes :: Fleet Foxes, Sigur Ros :: Not Another Unspeakable Album Title!?, Stereolab :: Chemical Chords en Wire :: Object 47.

 Nummer van het jaar(?): Clement Peerens Explosition - “Geft Da Kaske Na Is Hier!”

MGMT - Time To Pretend

Kings Of Leon, "Fans"

Massive Attack, "Angel"

Mark Ronson, "Stop Me"

Hot Chip & Wiley, "Wearing My Rolex"

Via Mog

Summer is officially here! And what better a way to ring in summer than with my first ever monthly mixtape! This mixtape is composed of the songs that I have been listening to most over the past month. As you can see, my musical choices are very seasonal. Pretty much all of the songs on my mix are happy summer jams. But don't worry, it wont always be this cheery (just wait until fall). So enjoy these tunes, some old, some new, all very appropriate for partying the night away (or slip n' slide).

Click here to listen!!

1. Fleet Foxes – She Got Dressed
This remains one of my favourite Fleet Foxes songs, even though the full length is brilliant. It is the first song off of their self titled EP that was released in 2006. I actually prefer this EP to the critically revered Sun Giant EP. Anyways, this is an awesome song. At least i think so.

2. Coldplay – Viva La Vida
So far this is the track that I really like on the new Coldplay album. It may have something to do with this amazing Apple Ad. Nevertheless, great song. Now the question remains...is this for real?

3. CSS – Rat is Dead (Rage)
This is the first taste of the new CSS album. I like this song a lot. Hopefully the rest of the album will be as good. I had a dream last night that Lovefoxxx quit the band and that she wasn't on the new album at all. Weird.

4. The Ting Tings – Fruit Machine
Catchy little summer jam. I don't care what Pitchfork says, these guys are awesome.

5. M.I.A. – Paper Planes
I'm kind of obsessed with this song. This and "Jimmy" are pretty much the only songs I like on M.I.A.'s new album, but this is song is just gangsta!

6. Hot Chip – Ready For the Floor
This song just kicks ass. As does Hot Chip's (not so) new album.

7. Cut Copy – Feel The Love
I fell in love with this song a few months ago and then I totally forgot about it. Until I was out shopping in NYC and i heard it in the store Forever 21 (I was waiting while my girlfriend was trying on clothes), and I couldn't remember how I knew it or who it was by. So after much thought I finally remembered that is was Cut Copy. There's nothing I hate more than hearing a song, being able to sing along, and having no clue what it is.

8. MGMT – The Youth
I have finally succumbed to MGMT. Ever since I saw them open for Of Montreal 3 years ago, I have been seeing their name pop up here and there but I never really took notice, because of that performance that I didn't really care for. It turns out they actually make some pretty nice music, as I have recently discovered. This is song is pure greatness.

9. Rose Melberg – Each New Day
This is just a completely beautiful song, by one half of the Softies. I honestly can never get enough of the Softies.

So there you have it. I hope you like my first ever monthly mixtape. If you would like me to send you a copy of this mix just give me your email and it's yours.

Sandwiched between watching the BBC's hit and miss coverage of Glastonbury, the penultimate episode of Dr Who managed to do something that no other programme in this series has managed to date - it left me wanting more.

I'm still not entirely impressed that the Daleks and Davros (do his friends call him Bobby as a joke, behind his back?) made yet another return to the fray.

The Daleks are baddies that have outlived their usefulness and scare value, no matter how many frightened tears were shed by Sarah-Jane and Cap'n Jack last night.

But that quibble aside, it is clear that Russell T Davies has been saving the best for last in what will be his final series at the helm of the revived Dr Who.

It has been a real gamble. I thought the unthinkable mid-way through this series - I nearly didn't bother.

The writing felt clunky and the direction was slack (two of the show's biggest plus points up to this stage) and the choice of Catherine Tate as the new assistant was not exactly working.

It wasn't Tate's fault, everyone seemed to be trying too hard to play everything for laughs with a successful comedy actor in their midst. A bit like Torchwood trying too hard to be "adult", so this series of Dr Who has felt a bit forced.

Donna has come into her own in the last couple of shows, but it begs the question why did it take so long to get the formula right?

We've had a lot of spoilers and red herrings - the Doctor's "daughter" and who exactly is Prof River Song? - and the stuttering reappearances of Martha Jones and Rose Tyler.

It was all building to the final two programmes in the series. But it still wasn't hooking me in, it still felt a bit predictable and the amount of scene-setting last night swallowed up a large chunk of the programme.

And yet, the masterstroke that no-one had predicted has got me wanting more. The Doctor is regenerating.

We knew it was going to happen, just not quite yet. So we have a week to wait to discover who will become the next Time Lord and hats off to Russell T for finally waving his magic TV wand again.

The speculation will build over the next 7 days.

But my vote will go to Jay-Z.

They want someone different, someone who breaks the mould a bit, someone with a bit of charisma and a bit of menace, a showman capable of appealing to a wide cross-section of the population. Step-forward Beyonce's better half fresh from his triumphant headlining performance at Glastonbury.

He proved the doubters wrong - and the pre-show interview with the Alan Partridge of the hip-hop world, Tim Westwood (the thinking rapper's DLT), was a hilarious prelude to quite an impressive performance.

I'd stop short of suggesting Amy Winehouse as Jay-Z's assistant, particularly with Beyonce jiggling about in the wings as a ready-made time travelling companion.

Needless to say the coverage of Ms Winehouse's Glastonbury slot has veered from the ridiculous to the pointless.

Those enthusing about her shambolic self-parody need to really get a grip (she didn't sing too many decipherable words and it often sounded her band were playing a different song to the noises coming from her mouth). But, equally, the coverage of her "lashing out" at a fan sensationalises a non-story and does no-one any favours - it is seeking to stoke up yet more controversy about a troubled singer who would have been better off staying away from Glastonbury.

However, if the Dr Who people want some more inspiration from Glastonbury then they should try and persuade Hot Chip to become a band of freedom fighters.

So Jay-Z for the role of Doctor.

Beyonce for the Time Lord's assistant.

And Hot Chip to be a group of space-hopping freedom fighters.

It could work. It would certainly work for me.

The irony is that although I can't wait for next weekend's series finale, I won't be tuning in.

You wait all series for a genuine cliff-hanger and then when you get one it clashes with our date with the Ukele Orchestra of Great Britain at Lichfield Cathedral.

No matter. Supporting your local festival is far more important and rewarding than watching TV.

Maybe the Uke's will put their own unique stamp on the Dr Who theme tune to mark the arrival of a new-look Time Lord?

I called the kids into the living room to watch Amy Winehouse's performance.  Not as a matter to laugh about but to see what the horrors of drugs does to people.

Her presence at Glastonbury may have been in the face of medical advice given that she 'allegedly' is suffering from Emphysema but it was apparent to all that the drugs have taken hold.

It was very sad.

Not only did she fidget uncontrollably with her clothing throughout but she also appeared to punch somebody in the audience having been physically helped from the stage to get nearer her 'fans',

A third album will be a miracle.  I have to say I very much doubt we will ever encounter it.

Jay Zee was an interesting choice as Saturday night headliner and, for me, only really worked in parts.

My favourite moment (apart from Hot Chip dueting with Wiley) was Ethiopiques on the World Stage.

My mate Jon Stevenson is there.  At least he won't get foot rot this year.

Oh, and the 30 seconds of Massive attack that I saw looked good.

Todo verão por aqui tem um hit. Aquela música de um artista ou banda que durante o verão toca em todas as rádios e lojas de roupa até cansar. E o artista, claro, também sai em turnê pelos festivais.

Já tivemos o verão da (chata) Lily Allen com Smile, o verão da (ainda maravilhosa) Amy Winehouse com Rehab (pensando bem, Amy reinou o ano inteiro e não apenas uma temporada). Gossip passou o verão passado por aqui com Stand in the Way of Control quando dividiu a temporada com Let's Make Love do CSS.

E para este verão as apostas (ou aquelas músicas que já estão tocando em todos os lugares) são:

The Ting Tings, com This is Not My Name. A dupla Katie White and Jules De Martino é da cidade de Salford, perto de Manchester, e alcançou o número 1 com o single This is Not My Name mês passado. São os atuais queridinhos do jornal The Guardian. Aviso: gruda na mente.

Neon Neon, com I Lust You. Neon Neon é formado por Gruff Rhys do Super Furry Animals e o produtor americano Bryan Hollon, mais conhecido como Boom Bip. As músicas compostas pela dupla são baseadas na vida do playboy John Z DeLorean, que criou o carro DMC-12, aquele carro do filme De Volta para o Futuro. O resultado é puro anos 80. Em I Lust You, participação da ótima Cate Le Bon. 

MGMT, com Eletric Feel. A dupla do Brooklyn NY vai tocar em seis festivais no Reino Unido neste verāo. Eles apareceram por aqui primeiro com Time to Pretend, alcançando o número 35 na parada em março. Música para dançar em festival e esquecer depois.

Glasvegas, com Geraldine. A banda de Glasgow (a parte Las Vegas do nome é uma homenagem ao ídolo do grupo Elvis Presley) está na estrada desde o ano passado e está sendo chamada de the next big thing pela mídia britânica. Foi uma das primeiras bandas a tocar em Glastonbury, na tarde de quinta-feira, mas possivelmente voltarão ano que vem com mais destaque. O single Geraldine já está entre os top 10 da semana. 

Hot Chip, com Ready to the Dance Floor. Eles vão tocar em sete festivais e, como sempre, devem fazer um dos melhores shows de onde quer que passem. Em entrevista recente, eles disseram que prepararam uma versão ao vivo especial para os festivais.

Vamos ver se o verão vai trazer alguma surpresa extra além do sol. 

Søndag:

13:30 – Majorian | Beskrivelse - MySpace
18:00 – The Late Parade | Beskrivelse - MySpace
19:30 - Rumble In Rhodos | Beskrivelse - MySpace

Mandag:

13:30 - Sleep With All Of Your Friends | Beskrivelse - MySpace
18:00 - Kiss Kiss Kiss | Beskrivelse - MySpace

Tirsdag:

16:30 - Jong Pang | Beskrivelse - MySpace
18:00 - The River Phoenix | Beskrivelse - MySpace
21:00 - Casiokids | Beskrivelse - MySpace

Onsdag:

19:30 - Beta Satan | Beskrivelse - MySpace

Torsdag:

18:30 - Choir Of Young Believers (Pavilion) | Beskrivelse - MySpace
19:30 - MGMT (Odeon) | Beskrivelse - MySpace
22:00 - Radiohead (Orange) | Beskrivelse - MySpace

Fredag:

14:00 - Kate Nash (Odeon) | Bekrivelse - MySpace
16:00 - Band Of Horses (Arena) | Beskrivelse - MySpace
17:00 - Gnarls Barkley (Orange) | Beskrivelse - MySpace
19:30 - Kings Of Leon (Orange) | Beskrivelse - MySpace
21:00 - Mogwai (Arena) | - Beskrivelse - MySpace
01:00 - The Streets (Orange) | Beskrivelse - MySpace
02:00 - Spleen United (Arena) | Beskrivelse - MySpace
03:00 - Familjen (Pavilion) | Beskrivelse - MySpace

Lørdag:

12:00 - The Ting Tings (Odeon) | Beskrivelse - MySpace
14:30 - José González (Odeon) | Beskrivelse - MySpace
16:00 - Tokyo Police Club (Pavilion) | Beskrivelse - MySpace
17:00 - The Fashion (Arena) | Beskrivelse - MySpace
20:00 - The Notwist (Astoria) | Beskrivelse - MySpace
00:00 - The Raveonettes (Arena) | Beskrivelse - MySpace
01:00 - The Chemical Brothers (Orange) | Beskrivelse - MySpace

Søndag:

16:00 - Enter Shikari (Arena) | Beskrivelse - MySpace
19:30 - Bob Hund (Orange) | Beskrivelse - MySpace
20:45 - Hot Chip (Arena) | Beskrivelse - MySpace
22:00 – Jay-Z (Orange) | Beskrivelse - MySpace
00:00 – Digitalism (Arena) | Beskrivelse - MySpace

Glastonbury Festival (lê-se formigueiro humano)

Pois é, o festival mais esperado do ano por muita gente tá quase começando. O Glasto 2008, que acontece naquela hyper-fazenda de Pilton, terá início em 27 de junho e segue por mais dois dias (logo - faça as contas - termina no dia 29).

A imprensa de todos os cantos do Reino Unido tem falado - e muito - dos ingressos pro festival. Acontece que os tickets que sempre se esgotaram igual água têm encontrado dificuldade para sumirem nessa edição do evento (que, segundo estimativas, custou cerca de 22 milhões de libras para os organizadores). Muitos dizem que o problema para a venda dos ingressos foi o novo sistema usado para a compra de tickets (que foi instalado em 2007 e, se comparado com os antigos, é extremamente rígido).

Entretanto, Michael Eavis, fundador do Glastonbury, disse que a real causa da baixa procura pelos ingressos (segundo os organizadores, ainda sobram 3 mil tickets) são as incertezas climáticas: Mesmo com tanta tecnologia, não é possível garantir ao público que não vai chover no final de semana glastonburyático - e, você sabe, glastonbury = show com lama / show com lama + chuva = show com muita lama / show com muita lama + você no meio de tudo isso = desgraça (se bem que eu não ligaria muito de voltar pra casa coberto de sujeira depois de ver os shows dos meus maiores ídolos).

Orcs brigando na lama (lê-se público despreocupado do Glasto)

Amy Winehouse, aquele cadáver ambulante que você já se acostumou a ver toda hora na televisão ( tenho pegado muito pesado com a pobre coitada nos últimos posts?), vai mesmo cantar no Glasto - mas não é esperado nada melhor do que a apresentação da cantora no Rock In Rio Lisboa. Carl Barat (que, assim como Amy, andou bem doentinho mas já está melhor), ex-libertine que agora está no Dirty Pretty Things, deve fazer um show solo no segundo dia de evento, seguindo o estilo "não-faço-questão-de-tocar-com-a-minha-banda" que também tem o seu ex-colega de trabalho (e ex-presidiário) Pete Doherty como adepto. Três viciados em um parágrafo só é demais pra mim.

Jornais londrinos também têm falado que Wiley, aquele MC britânico que nem faz muito sucesso no Brasil, vai fazer uma aparição surpresa (que já nem é mais surpresa) no show do Hot Chip, que acontece no 'Other Stage'.

Então, que venha o Glastonbury! Mais um festival fodão que eu nunca vou poder ver ter de perto.

Autor: Alex Correa (Alguém leu esse artigo inteiro?)

Fontes: NME, XFM e meus conhecimentos de mundo (?)

Regurgitated from Gorilla Vs Bear. Little Boots covers Hot Chip. Somebody give me twelve hundred bucks so I can cover Hot Chip too. 

Me revoilà ! Et revoilà surtout le retour des heures musicales, arrêter à cause du Baccalauréat. C’est les vacances pour 3 mois et pour tous les lycéens de France, une heure musicale consacrée aux soirées s’impose. Si vous voulez évitez Claude François, David Guetta ou le son NRJ, je vous propose 15 musiques énergiques de 15 groupes différents.

Une heure pour danser pendant une soirée c’est peu, je vous conseille d’écouter les albums des artistes qui vont ont séduit afin de dynamiser vos soirées. Ce ne sont pas que des artistes de cette année, j’ai essayé de mettre le plus de nouveau artistes afin de vous présentez ce qui se fait de nouveau sur la scène musicale en 2008.

L’heure musicale commence par de l’electro rock, suivi d’indie rock et pour finir en douceur un peu de pop.

C’est les fluokids d’Hadouken qui commence avec le surpuissant Get Smashed Gate Crash. Issue d’un premier album en dessous de ses influences (Klaxons, CSS), le tube du groupe anglais propose un rock electro, avec la voie rap du chanteur. Un album à écouter en soirée pour danser et se défoncer, mais plus dur à écouter tout en étant sobre…

Changement de morceau et de style avec l’electro-pop d’Hot Chip et leur tube Ready for the floor ! Une instru electro et une voie pop, parfaite pour ramener le public sur la piste de danse, les voies masculine et féminine ramèneront les deux sexes pour une danse calme. Une chanson à qui marque le style du troisième album du groupe.

C’est ensuite, un remix du tube de l’été dernier D.A.N.C.E de Justice (que l’on a plus besoin de présentez) par Les Rythmes Digitales, un groupe parisien crée il y’a 30 ans et proposant toujours une musique branché. Un remix plus long que l’original (8minutes) dans lequel on apprécie l’instrumental et les changements de rythmes.

Autre remix, d’un autre tube de 2007, celui de Golden Skans (Klaxons) fait par le célèbre et jeune DJ Français Surkin. Même si on ne reconnaît pas une note du son des Klaxons, je suis fan de ce remix, une mélodie très bien trouvé, et un son electro agréable à écouter et nous faisant bouger le corps.

On passe en revue tout les groupes electro qui marquent 2008, on ne peut pas oublier le fameux Calvin Harris, et son morceau Acceptable in the 80’s, retour aux années 80, un morceau electro calme et agréable à écouter.

Avant de passer au génialissime et dynamique remix de Kill the Director (The Wombats) fait par les CSS, l’esprit des Wombats est gardé avec l’energie du chanteur et la mélodie. Le groupe brésilien ajoute juste une touche de synthé, afin de passer la chanson dans la catégorie electro rock, et obligatoire en soirée. Alors faites la fête entre collègues ou amis sans la pression du directeur.

La prochaine tout le monde l’a connait c’est Kids de MGMT, un tube electro, une mélodie très bien cerné, un mélange d’electro et de rock de la part du groupe de 2008 (pour le moment) qui ramener tout le monde sur la piste de dance.

Autre tube de 2008, c’est Shut Up and Let me go des Tings Tings, la seul chanson que j’aime de ce nouveau duo electro. Je pense que dans les premières soirées ce sera une sucée, par contre à force de l’entendre tout le temps elle risque d’être soûlante.

Hey ! Tais toi et emmene moi, vers le son rock des LCD Soundsytem et ramène Daft Punk dans ta maison. Daft Punk is Playing at my house chanson parfaite pour passer au rock en soirée.

Et enchaîner sur un groupe peu connu et que j’adore. The Maccabees (lisez le blog si vous en voulez plus sur eux), X-Ray et la voie cassé du chanteur déclencheront forcement l’hystérie et la joie de la découverte avec ce son dynamique et surprenant ! Leur album Colour It IN réédité en janvier 2008 et à écouter d’urgence !!!

La onziéme chanson et le onzieme groupe, nous apporte des Cuivres afin d’apporter un son nouveau. C’est Foals et leur tube Cassius, une de mes chansons préfère de l’année, je trouve qu’elle apporte une énergie et que quelque chose de rarement vu avant. Attention l’album Antidotes est beaucoup plus calme et expérimental.

Le prochain morceau est issue de l’album de Does it offend you, yeah ?, un album electro rock qui est idéal en soirée, des sonorités bien trouvés et mélanger entre guitare, synthé et batterie, une voie electronique et rageuse et cette chanson Let’s Make out ! Un départ rageux, une voie déchiré, une instru qui suit le tout et la surprise de retrouver Benjamin Siskou dans la chanson pour commencer à danser un slow avec l’élu du soir, avant de repartir dans un rock déchaîné !

Après avoir démontrez votre virilité et transpirez, petite pause boisson. Le son psychadéliques des Crystal Castles vous mettrez à l’aise et leur musique Untrust US, vous rappellera un super court métrage réalisé en partie par moi et à voir ici (fallait bien que je vous en parle)

Bon un peu de pop maintenant avec Creeper de Islands, un groupe et un album découvert pendant le bac, un opus surprenant par ces mélodies qui s’interposent et des sonorités venant de tous les univers musicaux. Arm’s Way est donc un des albums de ce début d’année à découvrir tout de suite.

Et enfin on fini sous la soul jazzy de Jamie (Lidell) et du très agréable et doux Green Light, afin danser un slow avec l’élu du jour (attention l’alcool déforme). Voilà j’espère que vous aurez passez une soirée !!

Télécharger gratuitement : L’Heure musicale de soirée

Image Benjamin Taft

]]> http://umbilicalchord.wordpress.com/?p=53 Mon, 23 Jun 2008 21:56:19 +0000 sandhyaraman http://umbilicalchord.wordpress.com/?p=53 The research monkeys here (meaning Vivek and I) are hard at work writing more reviews and discovering new bands for your listening pleasure. Also, I'm really behind on my other blog.

Up this week we're going to be adding some new reviews as well as backlogging older stuff. Remember that sometimes we update our archives with reviews and MP3s that were previously published or that were hiding somewhere on one of our hard drives.

Coming Soon...
Be Your Own Pet, Three 6 Mafia, and plenty of surprises
including possible back issues of Hot Chip, N.E.R.D., Black Lips, J-Live

Nevertheless, there's no doubting the Prize's ability to - overnight, frequently - thrust a struggling yet talented artist into the limelight, thus ensuring a short-term boost in sales. Elsewhere in its history, the nominees and winners have definitely caused me to further investigate a particular artist, as in the case of Antony and the Johnsons in 2005 (who won), and Richard Hawley in 2006 (who didn't).

Though I have no fear in saying that British music is at an all time nadir, it is with some optimism that I would suggest the past twelve months have seen signs of a resurgence among our more experimental and esoteric, risk-taking artists, and I really hope the judges take a careful look at such albums when making their decisions this year. Though I doubt my selections will bear any relation to the real shortlist, here are some British albums that have been released since last August (the usual cut-off point) that I feel the judges would be loath to ignore:

British Sea Power, Do You Like Rock Music? - I'm aware that Pitchfork have significantly decreased their love of BSP since this third LP, owing to it sounding (to their ears) more and more like U2. However, I would have to disagree, since the album is not at all bereft of soul and human interest, and is instead full of sonic experimentation (no doubt stemming from Efrim Menuck's input) and highly agreeable songs that certainly evoke comparison with Echo and the Bunnymen. It's not unthinkable to suggest that the Mercury judges may finally acknowledge the band's existence with a nomination.

Burial, Untrue - It's dubstep at its most evolved. It plainly evokes the unique experience of wondering through the city in the post-club comedown hinterland, and does so with these somewhat familiar 90s-sounding R&B vocals, mutated and squelched alongside harrowing beats.

Elbow, The Seldom Seen Kid - Tragically, I haven't actually heard this album yet, but I remain hopeful that, on the basis of their previous work, and the acclaimed reviews this one's been getting, it will be nominated, which would be an apt peak for such a hard-grafting band as Elbow. It's even got a collaboration with Richard Hawley on it.

Foals, Antidotes - One of the most hyped-up British bands for a while, particularly in more adventurous circles, and this, their debut, really didn't disappoint, for me. While it will always plague me as to whether critics would have preferred the Dave Sitek mix, I think it's only appropriate to applaud a band who have taken the far-out branches of math rock, and honed them into what is, in the end, a great pop album. Admittedly, the vocals and lyrics are sometimes on the wrong side of obtuse, but my personal feeling is that the technical virtuosity of the instrumental work far outweighs the album's problems.

Jonny Greenwood, There Will Be Blood - One of my less likely suggestions, particularly since it consists of half an hour's worth of modernist, minimalist classical music composed for one of the most awe-inspiring films I have seen in my entire life. However, there's no denying its scope and beauty, and the unrelentingly bleak mood that it conveys with a traditional orchestra creating wildly experimental sounds. More importantly, I really think it does work as an album, as opposed to just being a soundtrack: the sequencing of the tracks is good; there is an intelligent arc in tone, pace and texture. 

Hot Chip, Made In The Dark - Their third studio effort isn't at all flawless, but I think it is the unexpected things and the constant sense of surprise and wit that might win it a nomination. In Ready For The Floor the band have surely written their perfect Christmas pop song, while elsewhere on the record there's a definite feeling that the band is learning to embrace their live potential in making songs that just build and build, and then take some unexpected step, such as on Hold On.

The Last Shadow Puppets, The Age of the Understatement - It wouldn't be a surprise at all if this was nominated and indeed won the prize, which would be a fairly unprecedented feat for Alex Turner. It may not be at all forward-thinking (not that that stopped Klaxons from taking home the award last year), but it makes up for that by capturing the spirit of Scott Walker ballads, and embellishing solid hooks and vignettes with some of the most lush and inventive orchestration used in this context for a long time.

M.I.A., Kala - An acquaintance of mine believes that this will never win, because the British press remain sceptical of her confused political agenda, and because they don't like music that's so aggressive and wilfully sloganeering. Whatever the outcome, it only just missed the release deadline for last year's shortlist, and I really do believe they'd be foolish to have forgotten about it. On Kala M.I.A. takes all the sonic invention and global influences on Arular, and builds on them with further-reaching production values and slightly less of the banal anecdotes that peppered its predecessor. It's a stunning work, blending a wide range of talents and samples to make something relentlessly attention-seeking.

Robert Plant & Alison Krauss, Raising Sand - Another one of which I've only heard snippets, but, on the basis of what I have heard, it could be a worthy contender. The song selection is fantastic; the arrangements very appropriate; and, of course, in Plant and Krauss there is one of the most effective and unusual vocal pairings for a while.

Portishead, Third - I find it very difficult to write about this album: what is there to say about such a wilfully difficult, tortured album that has universally silenced the critics who thought either that Portishead would never make another album, or that any future album from the band would be an extension of the Bristol sound. It's comparable to Massive Attack's Mezzanine only in the fact that they've followed two albums of (admittedly talented) dinner party music with something you would be scared to expose to young children. Musically, the two albums are completely disparate; similar only in their consistently bleak, grimy tone. Third is alternately mechanical, languid, industrial, chilling, upsetting, unrelenting and apocalyptic. And I love it.

Radiohead, In Rainbows - Radiohead have never won the Mercury Prize, and I don't think they will with In Rainbows either. Though it is their best album since Kid A, I don't think it pushes nearly as many boundaries, and, for me, proved to be a relatively 'easy' listen. It's not that their lifting up their feet and taking the foot off the accelerator of invention and rule-breaking, it's just that they've decided on a more relaxed, soulful tone on this album, which I don't think gels with the forward-thinking agenda of the judges. Nevertheless, it's a delight to listen to.

Spiritualized, Songs in A&E - Every positive review of this album has hit the nail right on the head with an extremely large hammer: it sounds like he's writing and singing from beyond the grave; the music is a distillation of all his best work since the days of Spacemen 3; it's life-affirming music made by someone who almost died. And they're all correct, because the album can be beautiful and moving, and then shift into the full-on, space rock sprawling mess that everyone loves.

Oh, by the way, the biggest mistake the judges ever made was not nominating Field Music's Tones of Town last year. It should have been on the shortlist and it should have won.

Descobri The Accidental quando estava pesquisando sobre quem vai tocar no Green Man, festival no País de Gales que vou em agosto. Joe Goddard do Hot Chip colabora na faixa Knock Knock. O primeiro disco do The Accidental, 'There were wolves', saiu em abril e já está na lista de (vários) CDs que eu quero comprar.

Hot Chip

Bjork

Mr. Oizo

Stereo MC's

over and over and over and over and over
like a monkey with a miniature cymbal
the joy of repetition really is in you

under and under and under and under and under
the smell of repetition really is on you
and when i feel this way i really am with you

laid back

- Over and Over

A picture worths more than 1,000 words. And makes us remind a few songs too.

>> I Wanna Be Your Dog (Steak Lunch Remix) - Iggy & the Stooges

>> Get 'em High (Ratatat Remix) - Kanye West

>> My Drink n' My 2 Step (Cousin Cole Remix) - Cassidy

>> Gasolina (Radioclit Remix, Neon Coyote Edit) -  Bonde do Rolê

As if you weren't festivaled out yet, the annual Street Scene festival in San Diego has released its lineup and this is definitely one of the better lineups I've seen for festivals in the U.S. this year. OK, maybe The Black Crowes aren't the best selection for the second headliner, but aside from that, there really aren't too many bands I wouldn't be interested in seeing. The combination of Beck, Spoon, and Justice alone is pretty interesting, then when you get down to the middle with Hot Chip, Vampire Weekend, The New Pornos, Cat Power and X, you really just can't go wrong. The festival is taking place September 19th and 20th this year and two day passes are already on sale for $75 through Frontgate.

via COS

download

Uno de los temas que me tiene rayando la papa, es el “So Glad To See You”, soy capaz de escucharlo infinitas veces y, de alguna manera extraña, me sigue conmoviendo.

Así nomás.

Hot Chip - Ready for the Floor

Do it, do it, do it, do it, do it, do it, do it now
Say it, say it, say it, say it, say it, say it, say it now

Do it, do it, do it, do it, do it, do it, do it now
Say it, say it, say it, say it, say it, say it, say it now

Do it, do it, do it, do it, do it, do it, do it now

Instead of carving up the wall
Why don't you open up, we'll talk?
I am ready, I am ready for a fall

Instead of carving up the wall
Why don't you open up, we'll talk?
We are ready, we are ready for the floor

I can't hear your voice, do I have a choice?
I'm hoping with chance, you might take this dance
I can't hear your voice, do I have a choice?
(You're sinking below, I'm using my force)
I'm hoping with chance, you might take this dance
You're my number one guy

Instead of carving up the wall
Why don't you open up, we'll talk?
I am ready, I am ready for a fall

Instead of carving up the wall
Why don't you open up, we'll talk?
We are ready, we are ready for the floor

I can't hear your voice, do I have a choice?
(You're sinking below, I'm using my force)
I'm hoping with chance, you might take this dance
You're my number one guy
number one guy
number, number, number, number, number,
one, one, one, one, one guy

(number one guy) Instead carving up the wall
(one, one guy) Why don't you open up, we'll talk?
(number, number, number one)I am ready, I am ready for a fall

(number one, number one) Instead carving up the wall
(number one, one, one) Why don't you open up, we'll talk?
(guy, guy) We are ready, we are ready for the floor

(number one guy) Instead carving up the wall
(number, number, one, one) Why don't you open up, we'll talk?
(guy) I am ready, I am ready for a fall

(You're my number one guy, number one) Instead carving up the wall
(number, number, one, one) Why don't you open up, we'll talk?
(number, number, one, one) We are ready, we are ready for the floor